King Crimson - Neal and Jack and Me (Live 1982-84) Review

Average Reviews:

(More customer reviews)I say "See What You Missed" because so many music lovers never got a taste of how great this band was during this incarnation. These guys were full of invention and taste. Robert Fripp (guitar) continued to steward the band into new, highly progressive territory and continued to bring his significant skills in composition to the table. Adrian Belew (guitar, vocals) was in his prime, like a mature Jimi Hendrix, a master player and an engaging frontman. Tony Levin (bass & stick) contributed perfectly tasteful bass parts and Bill Bruford (drums & percussion) was at his absolute best during this era, when he was experimenting with electronic drums. Bruford's parts are constantly tasty and add an element of anarchy and excitement to this intricate music.
"The Noise" from 1982 is a great filmed performance that shows the band at their best. The 1984 performance is crisper and contains more material, and is great also.
The music mixes sonic experimentation ala Hendrix in his prime with a framework influenced by African & Asian music as well as 20th Century minimalism (Glass, Reich). Perfectly. Great band, great DVD. They tended to make fans out of whoever saw them live and I would guess this DVD will make you a fan of this band if you aren't already.


Click Here to see more reviews about: King Crimson - Neal and Jack and Me (Live 1982-84)

Adrian Belew ­ guitar & lead vocal Robert Fripp ­ guitar Tony Levin ­ bass, Stick & vocal Bill Bruford ­ drums & percussionBrand new DVD of King Crimson in the 1980's. Showcasing one of the defining live acts of the period. As Robert Fripp puts it "Records and live performance are two worlds. One is a love letter, the other a hot date. Crimson were always the band for a hot date."These two concerts offer different and contrasting snapshots of the 80's Crimson: Live in Frejus, heavily featuring material from the album Beat and filmed on tour in Europe with Roxy Music; and Three of a Perfect Pair showcasing the band's triumphant 1984 Japanese performances.Three Of A Perfect Pair - Live in Japan 1984Track Listing: Three Of A Perfect Pair No Warning Larks' Tongues In Aspic Part III Thela Hun Ginjeet Frame By Frame Matte Kudasai Industry Dig Me Indiscipline Satori In Tangier Man With An Open Heart Waiting Man Sleepless Larks' Tongues In Aspic Part II Elephant Talk HeartbeatThe Noise - Live in Frejus 1982Track Listing: Waiting Man Matte Kudasai The Sheltering Sky Neil And Jack And Me Indiscipline Heartbeat Larks' Tongues In Aspic Part IIDVD Extras: Sleepless video - Tony's Road Photos - Discography

Get 15% OFF

Click here for more information about King Crimson - Neal and Jack and Me (Live 1982-84)

Queensryche - Operation Livecrime (1991) Review

Average Reviews:

(More customer reviews)This is a brilliant piece of work from one of the most alternative and outstanding hard rock bands - Queensryche. The album "Operation Mindcrime" (which was released in 1988), was a classic concept album and phenomenal not merely for the band itself but also in rock history. "Video Mindcrime" (which was released in 1989) was an excellent piece of storytelling putting the songs and music into visual image. "Operation Livecrime" was a further step ahead to put the story into live performance.
I bought the box set way back in 1991 which made up of a Vhs cassette, a booklet about the story behind the album and a CD. The moment I saw the DVD on display inside a shop last week, I just did not hesitate to buy it. And now, here we are, "Operation Livecrime" in DVD eventually.
The performance itself was immaculate. Every single member of the band did their respective part perfectly. They played every single song in the album. The partnership of Chris DeGarmo and Michael Wilton in guitar playing was second to none and irreplaceable but also one which supposedly every fan of the band would sadly miss. By no means I am playing down the role of Kelly Gray (who replaced Chris), himself being an outstanding guitarist on his own merits, however there is unfortunately something missing in the standard of performance (particularly live performance) of the band following the departure of Chris who had made such a huge contribution to the development of the band.There is no question about that.
There is however one aspect which I sadly noticed from the song "Suite Sister Mary". It seems that the vocal portion of Pamela Moore was recorded beforehand, that is she did not seem to have sung her lines live. I hope I am wrong.
In all, this DVD is definitely a must for every die hard Queensryche fan and serious fan of rock music. Just go ahead and buy it. Believe me, it is worth every single cent.

Click Here to see more reviews about: Queensryche - Operation Livecrime (1991)

OPERATION:LIVECRIME - DVD Movie

Get 18% OFF

Click here for more information about Queensryche - Operation Livecrime (1991)

King Crimson: Deja Vroom (1998) Review

Average Reviews:

(More customer reviews)It was a thrilling visual document of Crimson's stunning return to form after a too-long hiatus, and it was an exploration of the then-fairly-new DVD format that's much more difficult than it needs to be. My rating is an average: five stars for the performance & extras, three for the "user-tailored interactive experience" of navigating the damn thing. Deja Vrooom is probably a proposition for the already-converted, so anyone new to this band and/or this lineup would be well-advised to check out Thrak or Vrooom Vrooom first.
First the cons. Rather than listing options, the menus cycle through them as if it's a memory game. The novelty of using a KC title for each function ("The Mincer" for a short essay on critics, "Vector Patrol" for choosing custom settings) is cute but too confusing. The video quality isn't spectacular and there's an occasional lighting-halo effect around the players; it's not terrible, but could be much clearer. On the other hand, this kind of raw powerful music really wouldn't be served by a slick super-sharp video anyway.
Pros: the performance itself is a stonker. The six-man lineup injects new life into older KC material and shows a smoothness & cohesion even beyond their studio recordings. It's always fascinating to watch just *how* everybody makes all that noise with their instrument of choice (or instrumentS in the case of Tony Levin - check that electric double-bass!). The impeccable skill and grace with which it's all pulled off is of course extraordinary. Extra points for the multiple camera angles available on some tracks.
Extras: a few of Tony's road movies (nice though inessential), Robert Fripp's essays on The Evil Music Industry (informative but I'll wait for the Cliffs Notes), an extensive band history/discography up to 1997, plenty of extra photos & artwork, and a "Schizoid Man" custom-mix feature. There's a mention of 'hidden features,' but apart from a solo RF Soundscape accessed through the TV-listing page, they must be well buried indeed.
Buy it? If you like this phase of the band, absolutely. The live visual aspect always adds another dimension to this music, even if Fripp still avoids anything brighter than a 100-watt lightbulb, and I say it's still well worth dealing with the other nuisances to get to it.
(Tracklist: Circular Improv - Vrooom Vrooom - Frame By Frame - Dinosaur - One Time - Red - B'Boom - Thrak - Matte Kudasai - Three of a Perfect Pair - Vrooom/Marine 475 - Sex Sleep Eat Drink Dream - Elephant Talk - Indiscipline - Talking Drum/Larks' Tongues in Aspic II - People - Walking on Air.)

Click Here to see more reviews about: King Crimson: Deja Vroom (1998)

BRAND NEW, Factory Sealed items direct from the Studios. 30 Day Satisfaction Guarantee. Quick International Airmail!

Get 7% OFF

Click here for more information about King Crimson: Deja Vroom (1998)

Rajaz Review

Average Reviews:

(More customer reviews)For any early Camel fans, when you listen to Rajaz' for the first time you will immediately get a sense of belonging. Andy's early 'Mirage' sound can be heard from the start. This album is a bit of a throwback with a Sahara theme wrapped around it. Colin Bass is background only, no vocals. Andy does all the voc's on this one. Drums are as tight as you would expect from Dave Stewart. Ton Scherpenzeel returns but is not as out front as you would expect, and thats too bad... Just when I think I'm bored by this medium paced musical artwork, I find I can still listen and begin liking other different parts. Overall this effort is as versatile as you would expect from a guitar genius like Andy. His signature sound at times is awesome!

Click Here to see more reviews about: Rajaz

1999 album by this excellent British prog band featuringAndrew Latimer, Colin Bass and Dave Stewart plus a guest appearance from Kayak's Ton Scherpenzeel. Eight

Click here for more information about Rajaz

The Who - The Kids Are Alright (Special Edition) Review

Average Reviews:

(More customer reviews)After having seen several other major DVD opportunities get squandered (The Beatles's HARD DAYS NIGHT leaps to mind), it is an utter delight to watch/listen to this DVD. It is great on several levels: the original film was one of the best collections of live performances in the history of rock, the reissue has dramatically improved the look and sound of the film, and the Special Edition extra disc includes some truly wonderful features. This ought to be the model for all future reissues, such as when/if they reissue the Rolling Stones's TWENTY-FIVE BY FIVE.
Only a couple of years ago I was trying to explain to my daughter that in the sixties and seventies, the Who were full-fledged members of the rock Pantheon, as revolutionary and crucial as the Stones, the Beatles, or Led Zeppelin. For some reason, they went into a bit of a decline in the general musical consciousness (I found kids my daughter's age might not know of them at all, whereas they knew the other aforementioned bands quite well). Thanks to some timely re-released and a tragic tour that saw the death of John Entwhistle, their star truly seems to be on the ascendant again. This album is crucial for proving what all of us at the time knew: the Who was without question one of the very greatest live bands of all time.
The Who was an amazing band, full of paradoxes. Roger Daltrey was one of the great front men in the history of rock, and Pete Townshend a crack songwriter and arguably the most entertaining to watch guitarist of all time. Yet, the lead instruments in the band, almost unique in rock, were Keith Moon and his maniacally abused drum kit and John Entwhistle's bass, both of them among the top two or three of all time on their instruments, if not the best. They were a great rhythm section, but they jointly tended to take over the songs musically, unlike Charlie Watts and Bill Wyman for the Stones, who were content to stay rock solid in the background. Live, they were amazing, with Daltrey marching in place, swinging the mike around like David about to use his sling against Goliath; Pete Townshend dancing disjointedly around while doing his famous helicopter chording of the guitar; Keith Moon playing as if he were on eight different drugs, tossing his drumsticks ten and twenty feet in the air; and amid it all, like the quiet in the eye of the hurricane, John Entwhistle standing stock still, motionless except for his hands moving up and down his bass, playing the instrument better than anyone else ever had, or perhaps has since.
The film begins with a bang, with a famous appearance on The Smothers Brothers Show (an awesome show because it was so amazingly subversive, with Tom and Dick acting like total squares, but in reality leftists who loved exposing the public to acts like Lenny Bruce and Mort Sahl, and bands like The Who and Cream). Unlike Ed Sullivan, Tom and Dick truly loved these bands, and the opening number/skit, a rollicking version of "My Generation" (with Roger Daltrey suffering so badly from a faux upper-induced stammer that was a badge of their identification with the amphetamine-crazed Mods that one isn't certain he is going to be able to finish each line). Each number brings new revelations or refreshes old memories. For instance, in "I Can't Explain" from SHINDIG! Keith Moon is sporting a T-shirt with a bull's eye on it, a full decade before Richard Hell would achieve notoriety in New York for wearing one when he was still with Television.
The numbers included in the film are both wide-ranging and representative. I suppose any Who fan will find many of their own favorites missing, but no one can complain that the numbers focus too much on one phase of their career. The selections are extraordinarily well balanced. One of the more poignant features is the fact that the performance of "Won't Get Fooled Again," which was performed specifically for the film so that they could have one really good performance on film of one of their most famous numbers, was the last time the Who ever performed in their original line up; Keith Moon would die only three months later.
The extras disc is truly worth having, with a feature on the restoration of the movie, and nice items like a tour of the Who's London, an interview with Roger Daltrey, and, my favorite bit, interesting versions of "Baba O'Riley" and "Won't Get Fooled Again," that features only John Entwhistle's bass and visuals. There is no question about it: the guy could play bass.
All in all, one is going to come across very few music DVDs quite this good. I highly recommend it.

Click Here to see more reviews about: The Who - The Kids Are Alright (Special Edition)

The Original Director's Cut, digitally remastered in Hi-Definition and remixed in 5.1 & DTS Restored to the original "Director’s Cut" length of 109 minutes. Almost 100 minutes of never-before-seen multi-camera angle footage. Completely re-mastered in Hi-Definition and 5.1 surround from the original film elements and multi-tracks. Presented in its original theatrical aspect ratio of 1.1:85. Packed with a 32 page collectable booklet. Commentary by Director Jeff Stein. Ultimate edition also includes: Multi Camera Angles - An extremely rare feature that is almost 100 minutes and featuring as many as 6 angles including a Pete cam, a Roger cam, a Moonie cam and an Ox cam. Making of the DVD - 40 minute feature offering an in-depth look at how the film was restored.Audio Comparison - This 8 minute feature provides a direct side-by-side comparison of the before and after audio. Video Comparison - This 6 minute feature provides a direct side-by-side comparison of the before and after so people can see what they’ve been missing all these 24 years! The Ox - A very special audio feature allowing the user to select an isolated audio track of legendary bassist John Entwistle. The Who's London - An interactive feature offering the viewer a video tour of Who landmarks. Trivia Games - Questions to test your knowledge with a prize of a newly mixed 5.1 rendering of the album version of "Who Are You" playing a video light/slide show and a long lost recording of Ringo Starr. English Subtitles - Figuring out the lyrics the band is singing is one thing, but deciphering what they say while screaming over each other is a whole other puzzle.

Click here for more information about The Who - The Kids Are Alright (Special Edition)

Tori Amos - Welcome to Sunny Florida (DVD with Bonus CD in Amray Case) (2004) Review

Average Reviews:

(More customer reviews)The worst that can be said about Tori Amos's live concert DVD, Welcome To Sunny Florida, is that the packaging is somewhat lackluster for a Tori Amos production. Otherwise and more importantly, Welcome To Sunny Florida, which also includes an extensive and remarkably balanced interview with Amos, a briefer backstage interview with her mother, and Scarlet's Hidden Treasures, a bonus CD of six unreleased Scarlet's Walk - era songs, fulfills itself impressively in every way. With Amos's best - of package, Tales Of A Librarian, released as recently as the autumn of 2003, the current collection only strengthens Amos's reputation as an unstoppable artistic juggernaut and workhorse. Amos is among the most prolific recording artists of her generation, and has reached the kind of elevated position today that musicians like Joni Mitchell and Patti Smith enjoyed in the seventies.
The concert footage, culled from the last show in the 2002-2003 Scarlet's Walk tour, represents Amos at her straightforward and ungrandiose best. Unlike some of the earlier such footage the artist has made available, Amos's vocals here are well recorded, high notes are reached with apparent effortlessness, the songs closely resemble the studio originals, and, above all, Amos appears happy, comfortable, and fully in command of the wide range of her talents.
The real importance of the collection, however, is found not on the DVD but on Scarlet's Hidden Treasures; three of the songs-'Seaside,' 'Tombigbee,' and 'Indian Summer'-were made available on the internet after the release of Scarlet's Walk (2002), but 'Ruby Through The Looking - Glass,' 'Bug A Martini,' and 'Apollo's Frock' are entirely new. With the exception of the likable, jazz - based "Bug A Martini," these songs represent Amos at the very height of her creative power. The meditative, somnolent 'Indian Summer' approaches the beauty of 'Cooling,' while the deceptively simplistic 'Seaside,' a fantasia on war that may or may not reference the attack on Pearl Harbor, has the restrained emotional fatalism of 'Playboy Mommy.' Wars both personal and collective underpin these songs thematically.
In the Seventies, songwriters Carole King, Joni Mitchell and Carly Simon mapped out the battleground in the war between the sexes from positions of fairness, self - assurance, and personal power. In many ways, however, Amos's spiritual and lyrical antecedent is really the perpetually combative, confrontational, and caustic Pretenders frontwoman Chrissie Hynde, as a study of Amos' hostility-laden song catalogue attests. Like Hynde, Amos's themes largely reflect emotional and spiritual crisis, chronic dissatisfaction with the state of the world, the victimization of the weak by the powerful, personal disillusionment, and the general failure of communication; like Hynde, Amos often responds with straightforward, finger - pointing accusations of blame, open sarcasm, and abrasive mockery.
But Amos is a more openly feminist and women - centered artist than Hynde, something readily apparent throughout the songs on Scarlet's Hidden Treasures. 'Ruby Through The Looking - Glass' describes the emotional and perhaps physical battles between a man and a pregnant woman; the vulnerable unborn child is, not surprisingly, referred to as "she." The children killed while playing innocently by the ocean in 'Seaside' are "girls dancing." 'Apollo's Frock,' which lyrically resembles the early Imagist poetry of Hilda Doolittle, may be Amos's most overt feminist statement yet; lofty Apollo, and men generally, are reminded that "Apollo, your frock...was always as beautiful as your sister's that your light shined on." The rousing, combustible 'Tombigbee' finds Amos hoping to be cleansed by the river after a volatile romantic encounter, and 'Indian Summer,' which begins with an image of "girls in the attic," finds Amos advocating for "another way" of life in the West and addressing President Bush with unusual subtly.
Amos's women - centered perspective begs the same question that matriarchal - based sects of Wicca do; are imbalances corrected or resolved by replacing a patriarchal worldview with a matriarchal viewpoint? At times, Amos seems at least metaphorically Wiccan in her emotional, spiritual, and political perspective. Her own combative feelings and attitudes seem to provide her with little insight into the identical hostilities she so opposes in others.
Longtime listeners who have missed the piano - dominated songwriting of Under The Pink (1994) and portions of Boys For Pele (1996) will be thrilled with Welcome To Sunny Florida and specifically with Scarlet's Hidden Treasures; 'Ruby Through The Looking Glass,' 'Seaside,' 'Apollo's Frock,' and 'Indian Summer' reveal the "girl at her piano" at her very best, and collectively are leagues beyond the material on From The Choirgirl Hotel (1998) and most of To Venus And Back's studio disc (1999).

Click Here to see more reviews about: Tori Amos - Welcome to Sunny Florida (DVD with Bonus CD in Amray Case) (2004)

Studio: Sony MusicRelease Date: 05/25/2004Rating: Nr

Get 11% OFF

Click here for more information about Tori Amos - Welcome to Sunny Florida (DVD with Bonus CD in Amray Case) (2004)

Best of Acoustic Review

Average Reviews:

(More customer reviews)Being a devoted Jethro Tull fan for 30 ++ years, I have always been partial to acoustic Tull, and I believe in his pre-golden years, Ian is too!! The set list could not be better. I highly recommend this collection to anyone who knows there is more to Jethro Tull then Aqualung and Locomotive Breath!

Click Here to see more reviews about: Best of Acoustic

On this Compilation of Jethro Tull and Ian Anderson Music, You Will Find a Variety of Styles, Tempos and Moods, Presented in a Chronological Order. Ok, Train Spotters - Jack Frost was Recorded in 1982, but Not Released Until 1988. The Tracklisting was Compiled by Ian Anderson who Picked Some of the Obvious and More Audience-friendly Songs as Well as Putting in Some of his Personal Favorites.

Click here for more information about Best of Acoustic

Moody Blues: Lovely to See You (2005) (2006) Review

Average Reviews:

(More customer reviews)This DVD is basically the "Set" from the group's 2004 and 2005 tours, give or take a song, so it is very recent and covers the entire Moodies' span from "Tuesday Afternoon" to "December Snow." It's too bad that Ray Thomas isn't with them, but the flute is handled beautifully without him. For a complete concert, this disc may be the best overall. "Red Rocks" seemed to have good energy but in the early part of the concert, they seemed a bit "off," and the audio mix was weak on the vocals. "Hall of Fame" was a little better on the audio mix, but the energy didn't seem to be there and the song list was a bit short. On this latest disc, you get songs that don't appear elsewhere including Graeme's "Higher and Higher" dance, and Justin's "Forever Autumn" rendition. I've bought every Moody Blues DVD I can find, and I think this is the best one of the bunch so far. (And as a bonus, you get a half-hour of interview footage with the 3 remaining Moodies). Picture: A, Sound: A, Content: A-, Performance: A-, Overall: A-

Click Here to see more reviews about: Moody Blues: Lovely to See You (2005) (2006)

The legendary Moody Blues present this special musical collection, their first live album without an orchestra, since their historic 1969 release The Moody Blues Live + 5.Recorded live at the Greek Theatre in Los Angeles on June 11 during their 2005 World tour, in which they played New Zealand for the first time and returned to Australia, this rare live recording is pure Moody Blues. With the Moodies' unique brand of music that has kept them at the top of their profession for 40 years, and has maintained them as one of the biggest live touring acts of all-time, this is a truly sparkling performance from one of the world?s greatest and best-loved rock bands. Featuring Justin Hayward on electric, acoustic guitar and vocals; John Lodge on bass, acoustic guitar and vocals; and Graeme Edge on drums and percussion, the rock legends magically perform selections from their incredible roster of musical masterpieces including "Nights In White Satin," "I'm Just A Singer (In A Rock & Roll Band)" and "Your Wildest Dreams," along with such rarely performed live gems as "Higher and Higher," "The Actor" and "Are You Sitting Comfortably?" The Moodies are also joined by their friends and colleagues Norda Mullen on flute and guitar, Gordon Marshall on drums and percussion, Paul Bliss on keyboards, and Bernie Barlow on backing vocals and keyboards, making it a magical night to remember. This concert offers Moody Blues fans all around the world a chance to experience a live performance of their biggest and best hits. Song List: 1. Lovely To See You, 2. Tuesday Afternoon, 3. Lean on Me (Tonight), 4. The Actor, 5. Steppin' in a Slide Zone , 6. The Voice, 7. Talking Out of Turn, 8. I Know You're Out There Somewhere, 9. The Story In Your Eyes, 10. Forever Autumn, 11. Your Wildest Dreams, 12. Isn't Life Strange, 13. The Other Side of Life, 14. December Snow, 15. Higher and Higher, 16. Are You Sitting Comfortably?, 17. I'm Just a Singer (In a Rock & Roll Band), 18. Nights in White Satin, 19. Question, 20. Ride My See-Saw

Get 15% OFF

Click here for more information about Moody Blues: Lovely to See You (2005) (2006)

Invisible Touch Review

Average Reviews:

(More customer reviews)It's easy to kick Phil Collins around, Lord knows, making him out to be a sap-meister, or worse yet, a corporate shill. But "Invisible Touch" is the moment in between the end of Genesis as prog-rock pioneeers and the ascendancy of Collins as soft-rock staple (and all the baggage that brings) where Collins actually truly shines. Having listened to this album for the first time in nearly a decade, I am eerily surprised at how good this album still sounds. "Land of Confusion", which at time of release could be deemed a bit over-the-top, sounds far more relevant today than ever. The men of steel, the men of power, are losing control by the hour, indeed.
But the real highlight, apart from "Land of Confusion" and "Domino", is actually the balladeering, which - after this album for Collins - just becomes overly saccharine. There's some transcendent quality to both "In Too Deep" and "Throwing it All Away" that save them from the schlock factor of that horrific Tarzan song. When Collins sings "Who will light up the darkness/Who will hold your hand/Who will find you the answers/When you don't understand", it's done in a way that is simple and effective, and not the amp-the-hystrionics-up-to-level-11 way. And it's actually quite lovely, really.
Chalk it up to the playing power of Banks and Rutherford - and to the perfect amount of restraint. It succeeds quite amply, and for the AOR genre, this is clearly best-of-breed.

Click Here to see more reviews about: Invisible Touch

The new live album from Jay Gordon and The Penetrators shows how great this power trio is in front of an audience at the Screaming Chicken, an old roadhouse in San Bernardino. The group covers eight standards from the rock and blues worlds including Willie Dixon's Good Morning Little Schoolgirl, White Rabbit, Grand Funk's Heartbreaker, Honky Tonk Women, Runaway, Rock Me, That Was Yesterday and Marshall Tucker's Can't You See.

Click here for more information about Invisible Touch

Seconds Out Review

Average Reviews:

(More customer reviews)Second's Out, by Genesis, turned my life around. Don't you just love overenthusiastic statements like that? Well, I remember sneaking into my brother's room when he was out, snatching a copy of Second's Out from his turntable, putting on the headphones, listening to it from start to finish in the dark, while looking out the window waiting for his car to pull back into our driveway, so I'd have enough time to run back into his room (still in the dark) and place it back onto his turntable at exactly the right axis he left it at. If the inside record label was even slightly too much to the right, I was always paranoid that he'd find out I was playing his records again and he'd yell at me! He was 8 years older than me and much bigger! He was an avid prog-rock fan and had dozens of albums, and treated them all like gold.
ELP was my first love and I thought no other band could amaze me so much, until my brother bought Second's Out and I heard it playing in his room all of the time. I was too young and poor at 13 and my mother wouldn't buy albums for me because she thought I'd scratch them all, so I would listen to my brother's.
Second's Out, from the Chester Thompson stick-click count off into Squonk, to the very exhausting end of Los Endos, was nearly a spiritual album for me. It was the first time I heard magic on a record. Like being a child and hearing fairy tales, but now being older and hearing how they would sound. I was unaware of even who Peter Gabriel was, so I had no compunction about calling Phil my favorite singer and the only one for these songs. Today, of course, I could not be more of a Gabriel fan and have seen every tour since the Security tour of 1982-83!
But Phil's smoky voice and warmly passionate delivery was the best voice I'd heard to that date. Each song was rendered so magical and potent, that it's still hard to believe this was a live concert recording in Paris. I guess we credit David Hentschel for his production, and the band for their artistry and transcendence. Everything had the right amount of reverb on it. Even the synth solo on Robbery, Assault & Battery should have no right to sound as not dated as it does! Banks and Hackett truly carry the melodic brilliance and performance of these songs, on the backs of the most musical, dramatic and firey rhythm section work you're likely to hear. To me, there is more fire in these performances than in any Metallica or Sex Pistols album recorded. This music was edgy, and ballsy. Today there are still metalheads and jazzers going 'How the heck did they write and perform something as mind-boggling as Apocalypse in 9/8??!!'. How did they, indeed? Speaking of which, Supper's Ready always intimidated me. I broke into this album side by side. First it was Side one. Then Side Two, with Firth of Fifth, and Hackett's pained guitar seagull cries that
dive and swipe, and that guitar solo having three or FOUR climaxes! I Know What I Like introduced me to the silly side of Phil Collins and was a nice
breath-catching moment.
When I did listen to Supper's Ready, each section captured me and sucked me in until I had to listen to the whole song at every sitting, each time taking me on a musical journey in my head. I thought, 'How could there be 5 individuals on the planet who were so on the exact same wavelength to create music so seamless and transcendent as this? Why am I getting so high off this music??!! Is it affecting anyone else out there as much as it was me??!!'. Yes came close at times, but even their musical individuality often threatened to split apart the majesty of their collaborations, and did on 'Tormato'. Second's Out is a documented treasure of those 5 individuals in Genesis and their timeless music. There is no more exciting live album than Second's Out.
U2 came close with 'Bad', but that's not a full-length live album. Can they ever capture their music as passionately as Genesis did with theirs on Second's Out? I haven't heard it yet. Has Radiohead? "I Might Be Wrong" is great, but they haven't yet, either.
Last word, on Cinema Show. Bill Bruford threatens to steal the whole album with his performance on drums there. If you are a drummer, listen to the rapid-fire kick drum work in the song's instrumental climax towards the end of the song. I love King Crimson, but I can't think of many times when he has bettered himself in a live album than what he plays on Cinema Show. How about those synth solos? Still damn impressive! I was CRUSHED when Steve Hackett left the group. I enjoyed his solo albums, but I knew he could not end up doing anything as brilliant as Second's Out. Or Supper's Ready. Or Trick of the Tail. Or Ripples. Or Eleventh Earl of Mar. The man had Phil Collins as his drummer!! Tony Banks as his keyboardist!
Mike Rutherford as his bassist!! Hackett's departure, especially after the release of Second's Out, hit me more hard than Gabriel's actually did! Nonetheless, this classic album needs to be heard and appreciated for what it is: One of the best representations of any live band recorded in concert. At the top of their game. A live album of previously-recorded material that nearly beats every studio version of the songs it repeats. Presenting perfect performances that are so well blended as one, you wish other bands could do theirs as good.
Oh, and if you didn't know, while all of this was going on, as this music was pouring out of their souls, Genesis had one of the best light shows ever. They always had state of the art lighting systems, lasers and fog that could create heaven or hell along with their music in concert. Sometimes on this album, you can hear the French audience gasping and cheering for no apparent reason ("Afterglow"). The reason was the lights, so meticulously choreographed to the songs as to create a thrilling, never before seen audio and visual emotional spectacle in real time. If you don't believe me, read some of the reviews from the time. I saw it on the And Then There Were Three tour of 1978. There were lasers bouncing off of six giant mirrors above the band's heads and fog swirling through it all. By the time Genesis ended up playing stadiums, they were so far ahead of the live show that they were selling tickets based on their word of mouth alone.
I believe Cirque du Soleil is STILL trying to out do them with their sound and lighting nearly thirty years later!! But with no DVD of the show to view in 5.1 Surround from that date, we're left with the music, gloriously on display.
Buy the new mastered version of Second's Out, put on a good pair of headphones, relax and put on Supper's Ready. From the moment Collin's casually announces 'Supper's Ready', you will be taken on a ride. By the time you reach Phil angelicly singing '666 is no longer alone', if you are not completely moved, than you probably have no pulse. Or taste. Enjoy!

Click Here to see more reviews about: Seconds Out

No Description Available.Genre: Popular MusicMedia Format: Compact DiskRating: Release Date: 29-NOV-1994

Click here for more information about Seconds Out

Famous Last Words Review

Average Reviews:

(More customer reviews)How does a band follow up a mega-smash album? Simple: they just follow it up. 1979's "Breakfast In America" was such a gargantuan success all over the place for Supertramp, that, after the world tour in support of the album, the band took some well-deserved rest for a couple of years before re-grouping for their next disc. However, one of the band's key members, singer/songwriter Roger Hodgson, wasn't so sure about his future with the group, and the next album, 1982's "Famous Last Words," would be his last album with the band (hence the title?). As Hodgson's swan song with the group, "Famous Last Words" certainly has an element of sadness attached to it, and although the album did not signal the end of Supertramp, it did signal the end of an era. It was nowhere near as commercially successful as "Breakfast In America" (how could it have been?), but "Famous Last Words" is still an excellent, heartfelt album filled with the high quality mix of pop, jazz, & rock that this great band are famous for. Hodgson's opener, "Crazy," is a great piano-thumper, while co-leader Rick Davies' "Put On Your Old Brown Shoes" is an excellent shuffler to clap along to. Hodgson's "It's Raining Again" is a very nice, uplifting song (and a Top 20 hit single), and "Bonnie" is a great showcase number for Davies. Next up is Hodgson's haunting, achingly beautiful "Know Who You Are," one of the very best songs he has ever written. If this gorgeous number doesn't bring a tear to your eye, then there must be something wrong with you. Davies then picks things up with the great 50's fun of "My Kind Of Lady," followed by Hodgson's majestic "C'est Le Bon" (featuring Ann & Nancy Wilson of Heart on background vocals), and finally, for a powerful one-two punch of dramatic Supertramp rock, there's the double-header of Davies' "Waiting So Long," and Hodgson's grand finale---and, judging by the lyrics, his farewell to the band---"Don't Leave Me Now."After the tour for "Famous Last Words," Roger Hodgson left Supertramp, apparently because he & Davies could no longer agree on the band's musical direction (Hodgson wanted the group to stay more pop, Davies wanted the group to be more jazzy). Since then, Rick Davies continues to helm Supertramp on his own, and the band has since recorded four great albums, starting with 1985's "Brother Where You Bound," and continues to tour. Hodgson has also recorded four fine solo albums since his departure from the group, and he recently went on tour with Ringo Starr, so both camps are doing just fine. While Hodgson may not be interested in returning to Supertramp (and he has said as such), we can be grateful of the terrific music he did make with the band---seven albums worth, in fact, as well as the live double-album, "Paris." "Famous Last Words" is a fond farewell to Roger Hodgson, and a lovely album to close out his time with Supertramp. A definite must-buy. :-)

Click Here to see more reviews about: Famous Last Words

Click here for more information about Famous Last Words

Frank Zappa - Baby Snakes (1979) Review

Average Reviews:

(More customer reviews)Frank Zappa, New York, Halloween ...... Bozzio, Belew, Bickford ....... how many more reasons could a person need to desire this majorly non-boring round thing????
The DVD release of Baby Snakes is a cause for celebration, both for long time fans and novices who are just discovering FZ - for the latter in particular, who never got the chance to experience the Zappa performance spectacle.
At its core, Baby Snakes is a concert film, but it is also a keen insight into the man's creative mechanism, a free association style that embraced all manner of media in addition to music. A prime example is the generous screentime given to clay animator Bruce Bickford, with whom Zappa had worked with on a video project for PBS around 1975. Bickford creates erotic nightmares in clay and on film while Zappa prods him on in metaphorical abandon, the result complimented by jarring sound design created spontaneously by Zappa and his cohorts in the studio. We also witness FZ rehearsing his bandmates, creating on the spot extraveganzas with Roy Estrada and a gas mask, spying on the backstage cavortings of musicians and crewmates, possibly developing new theories and creative concepts from witnessing the bizarre goings on ......
Ultimately, in the course of its 2.75 hours' length, Baby Snakes evolves into a relentless live assault, a labor of love dedicated to the appreciative crowd of New York's finest crazy persons, who are also afforded ample screen time. We learn the History of the Poodle (God's 3rd mistake), witness a debut performance of "I Have Been In You", observe monster drummer Terry Ted Bozzio in a Speedo transform himself into the devil for the number "(Mammarian Protuberances) 'N' Beer", enjoy featured vocal performances by keyboardist Tommy Mars (Pound for a Brown), guest stunt guitarist Adrian Belew (City of Tiny Lites), and even FZ's bodyguard Big John Smothers (Muffin Man), witness the onstage flogging of unwitting audience members with a real leather whip ("This is Halloween, we don't **** around!!") and of course the recommended diet of Frank's own searing guitar work. A truly priceless moment in the film is Bozzio's drumming/vocal performance on the epic finale "Punky's Whips"; if only they gave Oscars for best supporting musical performance in a documentary.
As for the DVD package itself: It is presented as a case study of People Who Do Things That Are Not Normal, complete with file folder bearing the official seal of the Department of Entertainment Security containing typewritten documents, photographs, trade reviews and other critical evidence. The transfer effort is admirable, though the film does show its age in some sections, graininess and a true live mix (not the "enhanced" type that Zappa favored on many audio releases) which at times loses definition. That's rock 'n roll. Due to compression and encoding issues associated with DVD production, the actual volume level is fairly low; this can of course be resolved by cranking your receiver, but you better be riding the levels when you push that menu button! These are minor quibbles in light of this significant video chronicle of the man Frank Zappa, who wrote, produced, directed, scored (duh) and largely financed the original film into existence back in 1979.
The result the closest we've got to a legacy to a creative mind like few others .... watch him work, watch him play, listen as he has his say ("The important thing about this instrument is the way the air smells as it comes out of these holes"), see the Läther Band onstage, venting Warner Brothers rage ..... and don't forget to vote.
We will never forget you, Frank.

Click Here to see more reviews about: Frank Zappa - Baby Snakes (1979)

FRANK ZAPPA - BABY SNAKES - DVD Movie

Get 15% OFF

Click here for more information about Frank Zappa - Baby Snakes (1979)

Six Degrees of Inner Turbulence Review

Average Reviews:

(More customer reviews)The cover art is grimy and enigmatic, intimating a sense of violence and aggression. The album's name is bold and maybe somewhat pretentious. What have we here? It seems to be an open invitation for rock critics to assault a haughty progressive rock band. This album seems to fit every critic's definition of "indulgent": a double album, the progressive disposition, and a 42-minute song. And it's Dream Theater.
Direct your derision elsewhere, critics. This may be a strong statement, but I have to venture to say that Dream Theater's Six Degrees of Inner Turbulence is the most dynamic afflatus of progressive music since Yes' Close to the Edge. The band mines a rich vein of influences and amalgamates them into something utterly intense and inventive. The music in this 2CD set possesses the devastating technical chops we expect from the band, this time directed towards a more experimental release than was Scenes from a Memory. At the same time, Six Degrees encapsulates a sense of brutal beauty and depth, with an assertive and clear artistic vision that defies any standard the genre has ever set.
"The Glass Prison" will probably surprise a few people. It opens the album with a metal fury of frightening velocity. No doubt the heaviest thing the band has ever done, it is dark, heavy, punishing, and despairingly intense. Because of its pulverizing heaviness and its lyrics (which deal with fighting alcoholism), comparisons may be drawn to "The Mirror". But this song is far more brutal and poignant (and at 14 minutes, it's twice as long). The song's speed is forcefully carried by Portnoy's alien-hummingbird double-bass, as well as Myung's chiming bass arpeggios. Vocals by both Portnoy and Labrie are fierce, and Petrucci's solo is desperate, shattering, schizophrenic, and shred-intensive.
Petrucci also proves he is adept with the pen as well as the guitar. His lyrics on "The Great Debate" (dealing with stem cell research) are great -- his use of metaphor and cleverly ambiguous phraseology makes him, I think, progressive metal's best lyricist. (Consider the double-meaning of the "turn to the light" lines). The music accompanying his poetry is equally sophisticated. Samples from news broadcasts flesh out the subject matter. This evolves into fiercely heavy grooves, delicious rhythmic phases and accents (at once evoking Tool and Rush), and slaughtering furies of guitar/keyboard leads. A clever mix puts right- and left-wing arguments on the appropriate side in stereo (cool!).
It's been proven that the band is capable of bone-crushing technical wizardry, but they also command restraint and concisely developed melodic progressions. "Disappear" is the album's shortest song, not quite reaching seven minutes. This one is presented with an avant-garde, Radiohead-like production. It is a frigid requiem frail vocals and the sad, seductive susurration of longing melodies, built around gorgeous acoustic guitar and exquisite pianos. Labrie's lyrics and performance are masterful; I believe the fugitive poetry is perhaps attempting to mask emotions the delicate vocals betray.
"Blind Faith" is an outstanding work of songwriting, musicianship, and vocals. It's one of those "perfect songs." The melodies are so liquidy during the verses (with great synth inflections), but it kicks into high gear for an awesome, rocking chorus with a big hook that doesn't let go. There's hooks everywhere, even in the instrumental interlude, which is technical DT at its best. Petrucci plays a simmering, catchy riff which (I think) is on baritone guitar...it's the best! Buy the album to hear this riff. The keyboard/guitar unison part here is the most difficult they've done. Before this, though, Rudess plays an elegant piano solo...he's so talented, and his touch his beautiful.
"Misunderstood" is a very difficult song to classify...it almost passes as a killer rock ballad but it also sports some trippy jamming that reminds me a bit of King Crimson's weirder moments. Petrucci's lyrics about feeling isolated are great in rhythm and metaphors. After the last imploring chorus, the final few minutes of this track are a crazy, dissonant blend of sounds that mess with the head.
A full review should be devoted solely to the phantasmagoric and discursive 42-minute title track on the second disc. "Six Degrees of Inner Turbulence" is the band's exploration of mental illness. Each section is devoted to a different person's struggles, gracefully enriching the lyrics with character-specific leitmotifs. This is possibly the band's finest moment, countervailing thrashy metal riffage ("The Test that Stumped Them All") with more melodic, pop-influenced movements ("Solitary Shell"). Individual sections show more effort and detail than the sum total of entire albums, but Dream Theater manages to keep everything very concise and coherent. "Overture" is an exhilarating prelude, formed by a grandiose orchestral section, heated interplay, and stormy guitars; "Goodnight Kiss" is an achingly sorrowful elegy where Labrie's vocals are at their emotional best (beautiful guitar work too); "Solitary Shell" is a major-key, hook-laden piece that evokes Peter Gabriel, while Labrie's vocals soar on the power chorus; "About to Crash (reprise)" is an awesomely infectious anthemic rock piece. "Six Degrees..." is so intense in music and pathos that it virtually blows me away note after note for 42-minutes, leaving me physically weak at the end. Yes, it is long...but it is not a song (or album, for that matter) of nimiety. I don't think there is one immaterial note or second. Heck, to some Dream Theater fans it might even be considered exiguous -- there is considerable restraint here.
All throughout, Jordan Rudess proves he is the most inventive keyboardist in progressive metal. He goes through so many different patches rather than sticking to the same tired strings, organs, and pianos. No one can compare.
When a band releases an album so adventurous, it's always a risk that they will create something so self-indulgent that no one will enjoy it. Just remember: Whenever a work of art attempts to transcend the boundaries of its style, it'll likely alienate those looking for the same old, same old. Six Degrees of Inner Turbulence is not for those who just want another good "prog" metal album. It is not for those who want another Images and Words. It is for listeners who want to experience the artistic challenge with the band, to celebrate the meaning of "progressive music." There are those who fear that "progress" makes good songwriting null. Have no worries -- Dream Theater's prime songcraft has been polished to an impossible gleam for this album.
Yet again Dream Theater pushes ahead of the pack in terms of creativity and resourcefulness, without ever losing touch with their ability to communicate their sophisticated music to their audience with emotion and sincerity. The kings of progressive metal yet again prove why they are the genre's best band. This release adds another jewel to Dream Theater's crown.

Click Here to see more reviews about: Six Degrees of Inner Turbulence

Dream Theater's latest 2 CD studio epic, produced bydrummer Mike Portnoy & guitarist John Petrucci. ElektraEntertainment.

Click here for more information about Six Degrees of Inner Turbulence

The Moody Blues - A Night at Red Rocks with the Colorado Symphony Orchestra (1992) Review

Average Reviews:

(More customer reviews)Moody Blues fans have long enjoyed and admired the group's unique ability to capture visual imagery in music. In this respect, Live at Red Rocks is a crowning achievement.
The beautiful Red Rocks Amphitheater provides a uniquely appropriate setting for the Moodies' haunting blend of rock melodies and classical accompaniments. The video does an excellent job of incorporating the scenery into the musical flow of the presentation.
Several facets of this production are noteworthy. The film masterfully captures the interplay between the band and the audience, long one of the group's touring trademarks. It also does a wonderful job of documenting the three generation span of Moody Blues enthusiasts, scanning the attendees to reveal middle aged grandparents in casual clothing, twenty-something hippee wannabees, and some fully involved pre-teens, all lost in the rapture of a major Moodies event.
Viewers with a good ear will notice that many of the vocals have a slightly strained quality, not sounding quite as good as one might expect from the likes of Hayward, Lodge and Thomas. This is because Justin was fighting a nasty case of laryngitis the night the video was filmed. Even with that disadvantage, the music still manages to be far beyond ordinary.
So far as the music, the normal repertoire is here. Standard stage versions of classics like Nights in White Satin, Lovely to See You, Story in Your Eyes and their traditional closer, Ride My SeeSaw are included. A true highlight is a magnificent version of New Horizons, powerfully enhanced by a dynamic orchestral background score.
When all is considered, A Night at Red Rocks is a true five-star experience. Don't miss it!

Click Here to see more reviews about: The Moody Blues - A Night at Red Rocks with the Colorado Symphony Orchestra (1992)

NIGHT AT RED ROCKS WITH COLORADO SYM - DVD Movie

Get 5% OFF

Click here for more information about The Moody Blues - A Night at Red Rocks with the Colorado Symphony Orchestra (1992)

Black Symphony (CD/DVD) Review

Average Reviews:

(More customer reviews)As a fan of Within Temptation, I have been waiting for this DVD to come out since they announced the show back in February and now it's finally here. This dvd is brilliant, sure it's not the same as the European release but the main concert is what's important here and it's fantastic. There are no other words to describe the vocals of Sharon den Adel combined with a live orchestra. Within Temptation was made for something like this and I love the new arrangements to some of the songs including "Mother Earth", "Stand My Ground", and "Angels". Adding the pyros, video screens, lights, dancers, and sounds made this one of the best live performances ever captured on film.
This version of Black Symphony contains a cd with 13 live songs and a DVD with the full 22 song concert and a few special features:
Backstage report- a 13 minute interview with the band, crowd, and orchestra before and after the show.
Documentary - runs for about 23 minutes and it features the band discussing a little about their career with rehearsal footage from black symphony.
Countdown - 8 minute overview from the day of the show.
For anyone that wants to know the technical stuff, the show is shot in widescreen and contains 2.0/5.1/DTS sound.
Every fan of Within Temptation must pick this up! You won't regret it.

Click Here to see more reviews about: Black Symphony (CD/DVD)

Black Symphony was a unique concert at Rotterdam's Ahoy Arena on February 7, 2008 sold out months in advance. Within Temptation performed to 10,000 fans with the 60 piece Metropole Orchestra and a 20 voice classical choir, as well as on stage stilt performers, costume changes, and an array of stunning pyrotechnic and lighting effects.

Click here for more information about Black Symphony (CD/DVD)

Space Ritual Review

Average Reviews:

(More customer reviews)The speil I usually give to people who turn their nose up at me when I announce my rabid Hawkwind fandom (people, by the way, who've usually never even heard any of their music) is that Neil from "The Young Ones" TV show ruined Hawkwind for an entire generation. By lumping them in with lily-livered lightweights like Genesis and by tainting them with strong hippie associations, everyone assumes they're either horrendously indulgent prog-rock, or embarrassingly dated peace-&-love musings. Hawkwind never were either.
Hawkwind, at their peak, as on '73's live "Space Ritual" double LP, were an air-tight rock'n'roll demolition unit who combined the best of trancey psychedelia and buttocks-scorching rock'n'roll. If you have the remotist interest in Krautrock or the pre-Punk school of high-energy rock a la MC5/Stooges/Pink Fairies/Deviants, then you need this in your collection.
From Dik's crazy synth whoops and bleeps thru to the sublime sci-fi spoken-word babble right up to the apocalyptic "Orgone Accumulator" (almost 10 minutes of pure sonic fist-shaking bliss), this is an album for both rock'n'roll purists and avant-prog geeks alike (I fall somewhere between the two).
Whilst nothing can compare to the original vinyl version with its fancy fold-out cover, this CD version is almost as good as it contains bonus tracks and a very well put together booklet with new photos, graphics and liner notes. Unlike many other reissues, it's nice to know that someone at the label actually put some care into it.
If you must know, everyone from Jello Biafra to John Lydon has sung the praises of this set, so do the done thing and get on it.

Click Here to see more reviews about: Space Ritual

UK remastered & repackaged reissue of the Britishprogressive rock act's 1973 album with 3 added bonus tracks 'You Shouldn't Do That', 'Master Of The Universe' & 'BornTo Go'. 2001.

Click here for more information about Space Ritual

Tales From Topographic Oceans Review

Average Reviews:

(More customer reviews)I reviewed the original version of "Tales from Topographic Oceans" back in October 2002. More recently I purchased this expanded two CD version from Rhino that includes not only the original four tracks, but a studio run-through of "Dance of the Dawn" and "Giants Under the Sun." Jon Anderson's vocals sound a bit thready and weak in the studio run-through, and the harmonies have yet to be added, yet, there is a certain charm to these run-throughs and the music is powerful.
"Tales" is a deeply philosophical album that is not for the meditative faint of heart. While much music is created to be toe-tapping and easy to sing to, "Tales" is in that genre usually called progressive rock, in a sub-genre that requires intense analysis to understand. The result is an album that is inaccessible and incomprehensible to a casual listener. In order to understand this music you must read the lyrics and listen, and listen, and then listen some more. Even then you might fail to gain a glimmer of Yes' intent.
"Tales from Topographic Oceans" would have to qualify as one of the most if not the most deeply complicated rock music ever created. Again, if you are a casual listener the complexity of the music can be frustrating or boring. However, if you consider that classical music is often complex, and to be understood requires extended focused listening, it should be of little surprise that Yes took that complexity for its own in the development of this music, creating a symphony in four movements.
The first movement is titled "The Revealing Science of God: Dance of the Dawn". The lyrics have no meaning, and they also have meaning. Confusing? Oh yeah. Understand that the point of the movement is to get the listener to realize that there are bits and pieces of knowledge, and understanding is something that rarely, if ever, comes all at once. Jon Anderson uses the sound of the words to create an almost subliminal meaning. The whole point is that you are to realize that we do not understand, but we have to keep trying to understand. Also, when you find meaning, know that you found it within yourself.
The second movement is "The Remembering: High the Memory". This song is about the breadth of knowledge that is available to humankind and to any one individual. However, the song is also trying to say that while that knowledge is available, each of us can only access that knowledge when it becomes a part of our personal knowledge, and more than just having it as personal knowledge, it must be accessible and understood to be useful. Another way of saying this is that we have realms of knowledge that are potentially available to each of us. However, only that knowledge which we personally understand and can access will be of any value to us.
The third movement is "The Ancient: Giants under the Sun". The concept of this song is relatively simple compared to the first two movements. This song pushes through the envelope of recorded time to access forgotten knowledge from civilizations that came before. While the song is relatively easy to understand, the music is more interwoven and complex, and intertwines elements that are intended to evoke those earlier cultures. Therefore, the instruments flavor this movement with musical elements from around the globe to help give the feeling that the song of our knowledge is made up of many parts from many people. While the music sounds relatively simple, it is as technically detailed and complex as any concerto or symphony I can recall. While Steve Howe's guitar may be pivotal in this song according to Jon Anderson, Rick Wakeman's keyboards are essential to the ethnicity of the various portions of the music. This track is an incredible composition. This movement adds to the seeking of the first movement and the understanding of the second movement that there is knowledge yet available to be discovered from all cultures and civilizations that may no longer exist, but that understanding is still available if we know where and how to look for it.
The fourth and final movement is "Ritual: Nous Sommes Du Soleil". This composition is relatively accessible philosophically because it is a description of the human condition. This piece is intended to communicate that we have the ability to seek knowledge and understanding. Part of that knowledge and understanding is the constant struggle between good and evil, and how that struggle plays a part of how we view that knowledge. However, this piece also reinforces the earlier movements in that we have the ability learn and to understand granted by a higher power.
I've read that Rick Wakeman complained that there was too much filler in this composition. I suppose that could be said of many of the classical compositions by Beethoven, Tchaikovsky, Bach, and on and on. However, I've also read that Steve Howe thought that this was some of his best work ever. This work is magnificent in conception and scope. It is not readily accessible to the casual listener. The very best way to understand this music is to get a bottle of really good wine, sit in the middle of the room in a recliner, turn out most or all of the lights, and listen and feel. Start by paying attention to the emotion and feeling of the words, because that was the intent of the lyrics. Once you begin to understand what was intended, then this work becomes accessible. It is one of the most incredibly complex pieces of music I've ever heard, and I have listened to everything from classical to death metal. This music isn't for everyone, but those who can get into it, it is fantastic.

Click Here to see more reviews about: Tales From Topographic Oceans

Full title - Tales From The Topographic Oceans. 2003remastered, reissue of 1973 album with redesigned booklet(digipak/slipcase), restored LP art, archival photos andnew liner notes. Includes 2 bonus tracks 'Dance Of TheDawn' (studio run through) & 'Giants Under The Sun' (studio run through). Elektra.

Click here for more information about Tales From Topographic Oceans